What are ‘parts’?

There are four basic vocal parts: soprano, alto, tenor, and bass, each corresponding to a vocal range. A general rule of thumb is that women who can sing very high are sopranos, and women with a lower range are altos; likewise, men who can sing higher are tenors, while men with a low range are basses.

If you look in our hymnal, you will notice that for just about every syllable in the text, there are two notes stacked above the lyrics (on the treble clef) and two notes stacked below (on the bass clef). Those four notes correspond to the soprano, alto, tenor, and bass. The highest note above the text is for the soprano (what you are used to singing as the melody), the one below it is for the alto, the highest note beneath the text is for the tenor, and the lowest note is the bass part.

Why do parts matter?

The melodies of our hymns are written in alto (or low soprano) range. That means that most women can sing the melody as it is written, but men are automatically going to have to sing it an octave or two lower. Many men are probably so used to doing this that they don’t realize that’s what they are doing, but for some, it is challenging to make that musical translation. To make it worse, those melodies often cross the line between tenor and bass; so, if I’m a bass, it means that when the melody gets high, I suddenly have to drop my voice down an octave to sing the notes comfortably, and then bounce back up when the melody starts coming down again. It’s not particularly fun to sing that way.

Parts are tailored to each range, to be comfortable for each singer’s voice. No hopping around, no on-the- spot transposing to your octave. Granted, harmony parts are different from the melody, so it takes a little learning and practice to sing a different note from what you’re used to in the melody; but assuming you go to church the rest of your life, you’ve got plenty of time!

How do I sing a part?

I’m glad you asked!

The first step is to listen. Intentionally sit within earshot of a confident singer who sings in your range. (I’ll name names if you need a suggestion!). Watch the notes on the music, whether they are going up or down, and by how much, and listen to what that sounds like when the confident singer beside you is singing. Next, hum along and try to match your voice to their voice. It’ll probably sound bad at first, but that’s okay! Sin boldly (to quote a guy) and take all the opportunities you can to practice, whether it’s during the hymns or in the liturgy or during Sunday school opening. Slowly, slowly, it will get easier.

Secondly, remember that your deaconess is a resource for you. There are oodles of ways to practice on your own, so let me know if you need some ideas. Also, we have a couple professional vocalists among us, like Christa Kettler and Rachel Landrum; they would be happy to share advice!

Here I would be remiss not to plug the choir. Church choirs everywhere – our church, too – are made up of everyone from professional musicians to people who have never read music in their life. As a result, rehearsals have a good combination of learning music by rote, while practicing how to read and execute the music well, while being able to hear how the more advanced singers do it… it’s like a one-room schoolhouse for singing!

Fortunately, most of our hymns, prayer offices, and especially Divine Service Three are written very intentionally to be easy to sing in four-part harmony. Pick a favorite hymn and ask Emily Held or Nancy Teal to plunk out your part on the piano after church.

Alternatively, a recording of all the parts of Divine Service Three are available on the church website to listen to and practice with (see Singing Divine Service Three in Parts). Download your part and just have it run on a loop while you are cleaning the garage or doing office work. Get it in your ears. Rock out like it’s the 1520’s. (You will be surprised how much it helps!).